october 2018, arsenal cinema

Family Affairs – Cinematic Relationships Between Georgia and Arsenal

The various relationships between Arsenal and Georgian cinema are complex and stretch far back into the history of our institution. Since the first week of Georgian films in 1975, Georgian films have repeatedly been shown in our cinema program and at the Forum, while prints of Georgian films have entered our distribution range and archive. One year ago, we presented a part of this collection in a comprehensive film series and were able to welcome numerous directors to discuss their films with the audience. These conversations with Lana Gogoberidze, Salomé Alexi, Merab Kokotschaschwili, Gela Kandelaki, Otar Iosseliani and Dito Tsintsadze, a panel discussion about Georgian films in archives, as well as two essays about Georgian film history and the history of censorship there have now been brought together in a trilingual (German, English, Georgian) publication that is fresh off the press. With this in mind, we are showing further films from our collection from October 22-31, and are very happy to welcome Otar Iosseliani to Arsenal once again, who has made all the digitally restored versions of his films available to us for distribution.

october 2018, arsenal cinema

King of New York – Abel Ferrara Retrospective

Abel Ferrara is a survival artist. An artist who has survived much, a survivor who makes art, and who sometimes make his own survival into art. He survived a childhood in the Bronx and a strict Catholic upbringing, as well as countless subsequent alcohol and drug escapades. He has also survived as a filmmaker, as he was able to reinvent himself several times over the course of his career. He started out in the 70s quite literally in the gutter, shooting filthy exploitation and porn films in the darkest corners of his home city of New York, which had yet to see any sort of gentrification. In the 80s, he worked his way into the mainstream and had become one of the key representatives of the new American independent cinema by the 90s. Today, most of his films are made in Europe.

But it’s ultimately unimportant who produces Ferrara’s films, which genre he works in, whether he has large amounts of money and a vast studio apparatus at his disposal or whether he makes his films with a few close friends and funds them more or less from his own pocket; he still tackles every project with the same irrepressible energy. All that really counts in his cinema are its moments of highly personal affect. In her book on Ferrara, French film scholar Nicole Brenez described this idea as follows: “Ferrara needs the crowd, the street, and human commerce. His critique does not use the weapons of objectivity; it responds to the real like a sigh responds to a kiss, or a cry answers a blow.”

From October 5-29, Arsenal is showing twelve feature-length films by this exceptional director from all phases of his career. The selection was curated by Lukas Foerster.

october 2018, arsenal cinema

Magical History Tour – Of Shadows, Sprits, and Supernatural Powers

Film’s ephemeral, eerie, and uncanny nature takes shape in the fleeting form of shadows, ghosts and supernatural powers, coherent and unstable in equal measure. Ghosts of history, cultures, and myths, shadows ranging from those cut out of paper to those created by moonlight, and the dark sides of protagonists often brought to light by the figure of the doppelganger all foretell the uncanny, the strange, and the unknown. In the darkness of the movie theater, we encounter the shudder as the original principle of cinema, which equally plays with time, identity, perception, and disbelief. Perhaps we even sense our own shadowy side at times in the liminal zone between projected, imaginary images. This month’s Magical History Tour invites viewers to attend eleven very different encounters – with magical rites, restless ghosts (including some benign ones or even one in kilts), unperturbed messengers from the other side, and illusionary shadows.

october 2018, arsenal cinema

Film:ReStored_03: The Festival of Film Preservation

For the third time now, from October 25-28, “Film:ReStored” is presenting recently digitized films accompanied by lectures and studio reports dedicated to questions surrounding how we can digitize our cinematic heritage. This year’s focus is on the combined efforts of film and television archives in keeping cinematic heritage alive. The history of German film since the 60s would look very different without the role played by television. To this very day, up-and coming-directors receive support from television and some big box office successes are made possible via funding from individual broadcasters.

october 2018, living archive

Digitally Restored and New in Distribution: STORIES OF THE DUMPSTER KID (West Germany 1971) by Ula Stöckl und Edgar Reitz

“The Stories of the Dumpster Kid are a cineaste revolution for our country.” (Peter W. Jansen, Die Zeit, 23.7.1971) The dumpster kid, an anarchic, antisocial, artificial character, grows out of a thrown-away placenta and learns inquisitively what is expected of her and much more. She is misunderstood, rubs people up the wrong way, is punished, discredited, murdered, and yet still can’t be killed. With the 22 short films of different lengths, Stöckl and Reitz positioned themselves outside the cinema system in radical fashion. They turned a Munich cabaret theater into a “pub-cum-cinema” where the guests could order individual Dumpster Kid episodes from a menu. In this way, a unique film experience was created each time by the new combination of the stories.

With this idea in mind, the STORIES OF THE DUMPSTER KID are going on a “pub-cum-cinema” tour right across the country from October 11 onwards, also visiting places which are hardly classical cinema venues. Pubs, arts associations, small stages, and other unusual spaces can host these anarchic stories, which are full of anger and critique, but above all fun and joy too. The tour starts at the Arsenal “pub-cum-cinema” at silent green Kulturquartier on October 11. Tickets can be bought at the evening box office or in advance at the Arsenal box office at standard cinema prices.

arsenal cinema: Harun Farocki Workshop for Schools III

10:00 am Cinema 1


Gegen-Musik

Musik-Video

Nicht löschbares Feuer

Gegen-Musik Harun Farocki Germany 2004 Digital file 23 min
Musik-Video Harun Farocki Germany 2000 DV 1 min
Nicht löschbares Feuer Harun Farocki FRG 1969 16 mm 23 min

Moderated by Eunice Martins & Laura Mello Please register at: schlueter@arsenal-berlin.de
arsenal cinema: Cinepoetics Lecture #4: Erica Carter: Spectres of colonial whiteness

05:00 pm Cinema 1


Le malentendu colonial

Le malentendu colonial The Colonial Misunderstanding
Jean-Marie Teno Cameroon/Germany/France 2004 35 mm OV/EnS 78 min

arsenal cinema: Cinepoetics Lecture #4: Erica Carter: Spectres of colonial whiteness

07:00 pm


Vortrag von Erica Carter

Lecture by Erica Carter (King’s College London): "Spectres of colonial whiteness"
In English language Admission free
Venue: Veranstaltungsraum Deutsche Kinemathek, on the 4th floor of the Filmhaus

arsenal cinema: The DEFA Foundation Presents

07:00 pm Cinema 2


Der Fackelträger

Der Fackelträger Johannes Knittel GDR 1955
DCP 81 min

Ralf Jesse (Eurotape Media Services) in conversation with René Pikarski
arsenal cinema: New French Cinema

07:30 pm Cinema 1


Le bois dont les rêves sont faits

Le bois dont les rêves sont faits The Woods Dreams Are Made of
Claire Simon France/Switzerland 2015 DCP OV/EnS 144 min

arsenal cinema: The DEFA Foundation Presents

09:00 pm Cinema 2


Tanz am Sonnabend – Mord

Tanz am Sonnabend – Mord Heinz Thiel GDR 1961
DCP 86 min

Ralf Jesse (Eurotape Media Services) in conversation with René Pikarski